Schenker Documents Online: Breitkopf & Härtel

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Profiles Person Place Organization Work by Schenker Journal Musical Composition Downloads temporarily removed for testing purposes	Breitkopf & Härtel Documents associated with this entity: Correspondence Diaries Lessonbooks Major German music publisher and printer. The firm of Breitkopf was founded in 1719 and in the course of the 18th century established itself as one of Europe's leading publishing houses. It had both a publishing arm and a printing works in Leipzig. It was responsible for several innovations in music typography, most notably its devising in 1754‒55 of a system of movable type for music, which permitted the printing of music in far larger editions than had hitherto been possible. In 1796 the firm became Breitkopf & Härtel. At the outset of the 19th century it began publishing "complete editions" of the works of composers such as Mozart and Haydn, and soon thereafter first editions of works by Beethoven. In 1862‒65 it published the complete works of J. S. Bach in 61 volumes, and in the later part of the century the complete editions of many other major composers, including Beethoven, Schumann, Schubert, and Liszt. It also published many books about music. The firm continues to the present day. Breitkopf & Härtel Schenker contacted Breitkopf in 1894 with a view to publishing an article (letter from Maximilian Harden, OJ 11/42, [19]), apparently abortively. The firm, at the prompting of Ferruccio Busoni, published Schenker's Fantasy, Op. 2, Five Piano Pieces, Op. 4, and Two-voice Inventions, Op. 5, all for piano, in 1898, and also his Six Songs, Op. 3 in 1898‒1901. They declined his Six Songs for Mixed Chorus, Op. 7 and Ländler, Op. 10, for piano in 1898, his Syrian Dances for piano duet in 1899, and his Three Songs, Op. 6 in 1902. He offered his Harmonielehre to the firm in 1905, but this was declined on the grounds that "the published works of Riemann along the same lines cast doubts on the sure success of your work" (OJ 9/20, [36]). He corresponded with the firm between 1913 and 1916 regarding photographs of Chopin's Etudes Op. 10 and Op. 25 (OC B/206‒214). In 1920, he offered them his Kleine Bibliothek (later to become Der Tonwille) and his complete edition of the Beethoven piano sonatas, but these were declined. In 1911‒12, it was Breitkopf who printed Schenker's monograph on Beethoven's Ninth Symphony (published by Universal Edition). As Schenker's disillusionment with UE's director Emil Hertzka increased, Wilhelm Furtwängler offered in 1922 to inquire at Edition Peters and Breitkopf & Härtel with a view to Schenker's moving away from UE. In 1929 and 1930, Furtwängler (OJ 6/7, [4]) and Karl Straube (OC 54/218, 298) sought, but without success, to procure either Peters or Breitkopf for the publication of Schenker's analytical study of the "Eroica" Symphony. Later in 1930, Anthony van Hoboken unsuccessfully tried to persuade Breitkopf to undertake a complete edition of the works of C. P. E. Bach with which Schenker was to be involved in conjunction with the Photogrammarchiv (PhA/Ar 36, [1]). There are also numerous references to the firm in Schenker's diaries. Correspondence between Breitkopf & Härtel and Schenker Correspondence between Breitkopf & Härtel and Schenker survives as OJ 9/20 (33 letters and postcards from Breitkopf dating between 1894 and 1920, with copies of statements of account and contracts), OC B/206‒214 (eight letters and postcards and one invoice from Breitkopf dating from 1913‒16), and Sbb 55 Nachl. 12, [1], from Schenker to Breitkopf of 1930. Contributor: Ian Bent Downloads temporarily removed for testing purposes Correspondence OJ 9/6, [1] Handwritten letter from Eugen d'Albert to Schenker, dated February 19, 1894 Eugen d'Albert has instructed his publishers to send Schenker all his compositions, and asks Schenker to write about them in Die Zukunft. OJ 11/42, [19] Handwritten letter from Maximilian Harden to Schenker, dated October 11, 1894 Harden rebuffs accusations by Schenker that seem to involve a delay in Harden's response to a submission that Schenker hopes to move to another publication, and he accuses Schenker of reneging on a promise to write about [Johann] Strauss's operetta Jabuka. OJ 9/6, [12] Handwritten letter from Eugen d'Albert to Schenker, dated April 5, 1896 Eugen d'Albert apologizes for not having yet performed Schenker's Zwei Clavierstücke, Op. 1. He discusses arrangements for pupil Paula Szalit, and incloses the piano reduction of his opera "Ghismonda," and reports on its Dresden reception. OJ 9/27, [5] Handwritten letter from Busoni to Schenker, dated August 31, 1897 Busoni is pleased to learn that Breitkopf & Härtel has agreed to publish some of Schenker's compositions. He expects to be in Vienna in December and can then discuss his proposal to combine three of Schenker's compositions into one Fantasie and other technical suggestions. Sbb B II 4416 Handwritten letter with envelope from Schenker to Busoni, dated September 4, 1897 Schenker admits that, contrary to the remarks in Busoni's previous letter, he has not yet approached Breitkopf & Härtel [with his compositions], out of fear of waiving the honorarium. -- he solicits Busoni for an article in Die Zukunft. OJ 9/6, [20] Handwritten letter from Eugen d'Albert to Schenker, dated September 9, 1897 Eugen d'Albert reports difficulty with the Szalit family. OJ 9/27, [6] Handwritten letter from Busoni to Schenker, dated September 11, 1897 Busoni states his willingness to act as a go-between to Schenker and Breitkopf, and characterizes Breitkopf's approach to composers. The prospect of writing an article for Die Zukunft is attractive to him. Sbb B II 4418 Handwritten letter with envelope from Schenker to Busoni, undated [mid-September 1897?] Schenker is about to finalize work on his Fantasie and show it to Busoni for approval. He hints that he would like Busoni to play one of his works in public. OJ 9/6, [24] Handwritten postcard from Eugen d'Albert to Schenker, dated October 28, 1897 Eugen d'Albert seeks to mollify an awkwardness that has arisen between the two men. Sbb B II 4419 Handwritten letter with envelope from Schenker to Busoni, dated February 15, 1898 Schenker sends Busoni what he considers to be the final version of his Fantasie. He inquires whether Busoni has yet made an approach on his behalf to Breitkopf & Härtel. He reports an incomplete performance of his Fünf Klavierstücke by Eugen d'Albert, and the fact that the Neue freie Presse did not review the concert. OJ 9/27, [7] Handwritten letter from Busoni to Schenker, dated February 19, 1898 Busoni acknowledges receipt of Schenker's letter, the manuscript of his Fantasie, and [a printed copy of] his Fünf Klavierstücke. He praises the Fantasie while suggesting that the two new linking passages are perhaps over-long. He cautions Schenker over the subjectivity of the work, and advocates cutting two of the variations from the final section. He reiterates that he will support the work [while not directly answering Schenker's question regarding Breitkopf & Härtel]. Sbb B II 4421 Handwritten letter with envelope from Schenker to Busoni, postmarked March 6, 1898 Schenker pleads to have a few minutes of Busoni's time, and informs him that Breitkopf & Härtel's acceptance of his Fantasie is almost secured. Sbb B II 4422 Handwritten letter with envelope from Schenker to Busoni, dated May 5, 1898 Breitkopf & Härtel have accepted his Fantasie; Schenker hopes now to get the piece well known. — He asks for a second time whether Busoni will permit him to dedicate the piece to him. — He hopes to attend Busoni's series of historical concerts in Berlin. Sbb B II 4426 Handwritten letter from Schenker to Busoni, undated [September/October 1898] Schenker reports that he has had two sets of proofs for his Fantasie from B & H; he announces that Simrock has accepted his Ländler for piano; he encloses some choruses and asks Busoni to send a recommendation to Siegfried Ochs. Sbb B II 4427 Handwritten letter with envelope from Schenker to Busoni, dated January 2, 1899 Schenker thanks Busoni for his latest letter and announces his concert tour with Johannes Meschaert January 7 to February 3, 1899.— He writes the valediction and signature in the form of a IV-V-I cadence. OJ 6/3, [8] Handwritten letter from Schenker to Moriz Violin, undated [?early July 1899] Schenker tells Violin not to be troubled by their recent [unspecified] abortive search: Weinberger is still on their side. He invites Violin to a Trischak [card] party. OJ 6/3, [9] Handwritten letter from Schenker to Moriz Violin, undated [?late July 1899] Schenker arranges with Violin to meet at the Weinberger headquarters, lunch, and then for Violin to go on to meet Professor Jerusalem. CA 1-2 Handwritten letter from Schenker to Cotta, dated November 8, 1905 This is Schenker's initial approach to Cotta: he asks the firm to consider publishing volume I of his Neue Musikalische Theorien und Phantasien, explains his anonymity, points out the book's attacks of certain composers, explains his choice of preferred publisher. OJ 13/37, 2 Handwritten letter from Ernst Rudorff to Schenker, dated September 12, 1908 Rudorff thanks Schenker for a copy of his Beitrag zur Ornamentik, refers to Beyschlag's Die Ornamentik der Musik, and expresses pleasure that he and Schenker are in agreement. OJ 13/37, 3 Stenographically handwritten letter from Ernst Rudorff to Schenker, dated September 24, 1908 Grunsky thanks Schenker for the copy of his Harmonielehre and praises it; in particular he approves of its attacks on Wagner, whom he speaks of as a malign force. OJ 5/35, [3] Handwritten draft or letter-copy from Schenker to Ernst Rudorff, dated September 28, 1908 Schenker comments on Wagner's alterations to Beethoven's Ninth Symphony, and outlines his own plans, wishing to see Wagner reduced to the same subordinate place as Gluck [unaware of the provocation this will be to Rudorff!]. — He takes issue with Beyschlag's interpretation of the turn in Haydn's music. WSLB 21 Handwritten letter from Schenker to Hertzka (UE), dated September 30, 1908 Schenker asks for a copy of his C. P. E. Bach Klavierwerke to be sent to Julius Röntgen, and of the Beitrag zur Ornamentik, 2nd edition, to Daniel de Lange, since the work is a rival to the newly-published Beyschlag Die Ornamentik der Musik. — He reports encountering Willem Andriessen. OJ 13/37, 4 Stenographically handwritten letter from Ernst Rudorff to Schenker, dated October 1, 1908 Grunsky expresses his opinions on the turn in Haydn's music and the status of Gluck in relation to Mozart and Wagner. WSLB 24 Handwritten letter from Schenker to Hertzka (UE), dated October 31, 1908 The prospect of an English translation of Beitrag zur Ornamentik pleases Schenker. — He wants to guide UE toward being a global enterprise. — Proofs of Counterpoint [I] have started arriving from Cotta. WSLB 39 Handwritten letter from Schenker to Hertzka (UE), June 23, 1909 Schenker asks Hertzka to send him two editions of the Bach Chromatic Fantasy & Fugue that are unknown to him. OC 52/422 Typewritten letter from Hertzka (UE) to Schenker, dated June 24, 1909 Hertzka confirms the agreed edition of the Chromatic Fantasy & Fugue, and will send the required editions. WSLB 40 Handwritten postcard from Schenker to Hertzka (UE), dated June 26, 1909 Schenker asks for the Röntgen edition of the Chromatic Fantasy & Fugue to be sent to him. WSLB 41 Handwritten postcard from Schenker to Hertzka (UE), dated July 1, 1909 Schenker asks for the three previously requested editions to be sent as soon as possible so as to arrive before he departs for vacation.— He also asks for Richard Stöhr's Harmonielehre. WSLB 47 Handwritten letter from Schenker to Hertzka (UE), dated November 9, 1909 Schenker resists attending a meeting with Hertzka and von Wöß regarding the printing of his edition of the Chromatic Fantasy & Fugue; asserts his rights as an author to control over his own material; and makes claims for the introduction to his Instrumentations-Tabelle, which was not accepted for inclusion in 1908 reprinting. OC 52/48 Typewritten letter from Hertzka (UE) to Schenker, dated April 9, 1910 There is now no hope of the Chromatic Fantasy & Fugue edition being available for proof-correcting by the middle of April, hence UE may be forced to send the work to Breitkopf & Härtel. — Hertzka asks for a report on other projects under discussion. OC 52/67 Typewritten letter from Hertzka (UE) to Schenker, dated November 24, 1911 Hertzka is unable to take up Schenker's offer of an arrangement of a Mozart piano concerto. -- Proofs of Beethovens neunte Sinfonie are expected any day. WSLB 85 Handwritten postcard from Schenker to Hertzka (UE), postmarked November 25, 1911 Schenker corrects Hertzka's misapprehension about his proposed arrangement of a Mozart piano concerto for two pianos four hands. -- He suggests Breitkopf are stringing Hertzka along. OC 52/68 Typewritten letter from Hertzka (UE) to Schenker, dated December 1, 1911 The printers query the absence of "signatures" from music examples in the manuscript of Beethovens neunte Sinfonie. WSLB 87 Handwritten letter from Schenker to Hertzka (UE), dated December 3, 1911 Schenker explains that the music examples without [key] signatures in Beethovens neunte Sinfonie are direct transcriptions from Beethoven's sketch materials. -- He approves the use of a quotation from a D'Albert letter for publicity purposes. OC 52/71 Typewritten letter from Hertzka (UE) to Schenker, dated December 4, 1911 Hertkza acknowledges Schenker's explanation of music examples without [key] signatures, and suggests an explanatory footnote; corrected proofs should be returned to UE. WSLB 88 Handwritten letter from Schenker to Hertzka (UE), dated December 6, 1911 Schenker gives instructions as to how measure number should be displayed in the analysis sections of his monograph Beethoven's neunte Sinfonie. OC 52/72 Typewritten letter from UE to Schenker, dated December 16, 1911 UE forwards to Schenker a letter from the printers including a music example and ask Schenker to respond. OC 52/73 Typewritten letter from Hertzka (UE) to Schenker, dated December 20, 1911 Hertkza remarks that the corrected proofs of gathering 3 of Beethovens neunte Sinfonie have significant alterations and additions, the costs of which will be passed on to Schenker. WSLB 89 Handwritten letter from Schenker to Hertzka (UE), dated December 22, 1911 Schenker refutes Hertzka's accusation of "heavy corrections," and his threat to pass the costs on to him. OC 52/74 Typewritten letter from Hertzka (UE) to Schenker, dated January 2, 1912 Hertkza sends page-proofs of gathering 3, and asks for return of galley-proofs and the manuscript of Beethovens Neunte Sinfonie. WSLB 91 Handwritten letter from Schenker to Hertzka (UE), dated January 4, 1912 Schenker returns proofs of Beethovens Neunte Sinfonie corrected, and expresses dismay at the inaccurate work of the typesetters, notably in type-size, marginal numbers, and alignment within figures. OC 52/75 Typewritten letter from Hertzka (UE) to Schenker, dated January 5, 1912 Hertkza encloses a letter from Breitkopf. WSLB 93 Handwritten letter from Schenker to Hertzka (UE), dated January 11, 1912 Schenker returns proofs of Beethovens Neunte Sinfonie corrected; he points out with labored sarcasm that the printers have omitted the title-pages of each of the four movements, and suggests how this might be rectified. WSLB 94 Handwritten letter from Schenker to Hertzka (UE), dated January 15, 1912 Schenker returns proofs of Beethovens Neunte Sinfonie with imprimatur. -- He conditionally accepts Hertzka's proposal that he create structural diagrams for movements 2 to 4, giving his justification for intially providing only that for the first movement. OC 52/77 Typewritten postcard from Hertzka (UE) to Schenker, dated January 16, 1912 Emil Hertka confirms that UE wants Schenker to produce structural diagrams for movements 2-4 of Beethoven's Ninth Symphony for his monograph on that work. OC 52/78 Typewritten letter from Hertzka (UE) to Schenker, dated January 26, 1912 Hertzka notifies Schenker of the impending delivery of page-proofs of his Beethovens Neunte Sinfonie monograph and asks for speedy return of previous galley-proofs. WSLB 95 Handwritten letter from Schenker to Hertzka (UE), dated January 28, 1912 Schenker returns page-proofs of Beethovens Neunte Sinfonie, granting imprimatur providing one problem can be overcome. OC 52/79 Typewritten letter from Hertzka (UE) to Schenker, dated February 6, 1912 Hertzka acknowledges receipt of the formal diagram of movement 2 for, and gathering 8 of the Beethovens Neunte Sinfonie monograph, and has sent galley-proofs of gatherings 5 and 6 to Schenker for imprimatur. WSLB 97 Handwritten express postcard from Schenker to Hertzka (UE), dated February 7, 1912 Schenker complains at the printers' disregard of his earlier words. He asks for assurance that he will receive a complete set of proofs to check the cross-citations of page-numbers. OC 52/80 Typewritten postcard from Hertzka (UE) to Schenker, dated February 7, 1912 Hertzka assures Schenker that he will receive a full set of page-proofs for checking. WSLB 98 Handwritten letter from Schenker to Hertzka (UE), dated March 4, 1912 Schenker returns page-proofs for gatherings 10 and 11 of Beethovens Neunte Sinfonie and the formal diagram for movement 3. OC 52/82 Typewritten letter from Hertzka (UE) to Schenker, dated March 15, 1912 Hertzka gives Schenker assurances on the arrival of further gatherings. WSLB 103 Handwritten letter from Schenker to Hertzka (UE), dated March 19, 1912 Schenker responds combatively to Hertzka's warning about correction costs. OC 52/83 Typewritten letter from Hertzka (UE) to Schenker, dated March 20, 1912 Hertzka suggests a fold-out for a particularly large music example. WSLB 105 Handwritten letter from Schenker to Hertzka (UE), dated March 28, 1912 Schenker will send the complete manuscript only on receipt of written assurance that it be returned to him later -- He speaks of being not only to "procreator" of his work but also "a manufacturer, hence a busieness man." -- He implies his refusal to pay any correction costs. He points out a placement error in gathering 16. OC 52/85 Typewritten letter from B. Rothe (UE) to Schenker, dated April 1, 1912 Miss Rothe assures Schenker that his manuscript of Beethovens neunte Sinfonie will be returned to him after use, and asks for it to be sent as well as any other proofs in Schenker's hands. WSLB 111 Handwritten letter from Schenker to Hertzka (UE), dated May 16, 1912 Schenker points to inconsistent usage of "Sinfonie" and "Symphonie" in the type-setting of his monograph Beethovens neunte Sinfonie and suggests adherence to the former; he submits the Foreword, and asks for one copy of each of his previous UE publications. OC 52/89 Typewritten letter from Kalmus (UE) to Schenker, dated May 16, 1912 UE sends the final gatherings of Beethovens neunte Sinfonie for Schenker's approval and reports the total author correction costs. WSLB 117 Handwritter letter from Schenker to Hertzka (UE), dated June 3, 1912 Schenker returns the [complete] proof copy of his Beethovens neunte Sinfonie with corrections. He asks about the placement of the Table of Contents in the volume. OC 52/427 Typewritten letter from Hertzka (UE) to Schenker, dated June 3, 1912 Hertzka addresses Schenker's request for an honorarium for correcting proofs of Beethovens neunte Sinfonie; he counters that the total author corrections have run to 600 Kronen. He is sending the volume to the printers today. -- He commits in principle to the editing of the last five Beethoven piano sonatas [Erläuterungsausgabe], but on the basis of the Chromatic Fantasy and Fugue sales he cannot accede to Schenker's demands; he makes a counter-proposal. WSLB 119 Handwritten letter from Schenker to Hertzka (UE), dated June 5, 1912 Schenker inquires about the print-run and retail cost of his Instrumentations-Tabelle, and points out an inconsistency in the edition number. He asks for clarity on a payment he has just received, stressing his probity. OC 52/437 Typewritten letter from Hertzka (UE) to Schenker, dated August 12, 1912 Die letzten fünf Sonaten: Hertzka finds Schenker's suggested rewording too general; Beethovens neunte Sinfonie: Hertzka will pay the supplementary fee demanded by Schenker, but only after 500 copies have been sold. WSLB 130 Handwritten letter from Schenker to Hertzka (UE), dated August 14, 1912 In the most aggressive letter yet on Hertzka's approach over honoraria and correction costs, Schenker asserts that UE ought to subsidize his works through the takings on the lucrative works of others. UE acquires Schenker's works for a fraction of their true value, yet is held responsible for UE's costs. Schenker refuses to sign the draft contract for his Die letzten fünf Sonaten Beethovens with an implied threat of withdrawal. OJ 6/7, [4] Handwritten letter from Schenker to Moriz Violin, dated December 21, 1922 Schenker reports the imminent publication of Tonwille 3, and some new publishing ventures, including a (new) edition of music by C. P. E. Bach and an "Urlinie Edition" of the Short Preludes by J. S. Bach. OJ 11/36, [19] Handwritten letter from Hammer to Schenker, dated September 1, 1925 Hammer explains why he can't just take the test print of his Schenker mezzotint as the final product. -- He speaks of money difficulties. OJ 10/3, [82] Typewritten postcard from Deutsch to Schenker, dated March 26, 1928 Deutsch writes about the sketches for a symphony in E major by Schubert, in the possession of the Royal College of Music in London. He would like to have a copy made so that the work can be published – possibly by Oxford University Press. The costs should be borne by the publisher, not the Photogram Archive, which would nonetheless get a copy of the reproduction. OJ 10/3, [83] Typewritten picture postcard from Deutsch to Schenker, dated April 16, 1928 Deutsch has had sharp words with Max Ast at Austrian Radio. He wants to give a talk on Schubert’s lost “Gastein” (or “Gmunden”) Symphony and hopes that publicity from the broadcasting company will eventually lead to the rediscovery of the manuscript. Eusebius Mandyczewski is preparing a new edition of the “Unfinished” Symphony for Breitkopf & Härtel; the Philharmonia pocket score, with Schenker’s and Deutsch’s revisions, is now in print. Deutsch has discovered that the first edition of Beethoven’s Piano Sonata Op. 90 exists in two versions. OJ 10/3, [95] Typewritten picture postcard from Deutsch to Schenker, dated October 8, 1928 Deutsch has received information from Breitkopf & Härtel concerning the three volumes of piano sonatas by Haydn in the collected edition; he thinks that they are very expensive. OJ 11/54, [25] Typed letter from Hoboken to Schenker, dated March 27, 1929 Hoboken has broken off his friendship with Otto Vrieslander after discovering that the latter has been cheating him. OJ 5/7a, [26] (formerly vC 26) Handwritten postcard from Schenker to Cube, dated July 22, 1929 Acknowledges the sonatas Cube sent with OJ 9/34, [19]; reports on Reinhard Oppel and on Hans Weisse's recent publication success; Schenker approves of Cube's use of pianistic diminution. OJ 10/3, [104] Typewritten letter from Deutsch to Schenker, dated July 28, 1929 In a long letter, Deutsch thanks Schenker for encouraging him to apply for the post of Head Archivist at the Gesellschaft der Musikfreunde following the death of the previous postholder, Eusebius Mandyczewski, on July 13. He comments on the present state of play at the Archive, above all on its insecure position. — He also expresses his regret that Austrian Radio is no longer interested in his “Chamber Ensemble” broadcasts with professors from the Vienna Academy, and that some of the players are no longer enthusiastic about them; he hopes to start a new initiative of that sort in the autumn. — He is in good standing with Hoboken, but the work on his private library is not bringing him rewards. — He enjoyed his recent trip to Italy, and thinks that he might have become an art historian had he gotten to know the country earlier. OJ 5/7a, [27] (formerly vC 27) Handwritten letter from Schenker to Cube, dated August 10, 1929 Schenker reponds, on information from Reinhard Oppel, to Cube's question in OJ 9/34, [19] about finding a publisher; advises Cube to seek friends who will play his music, after which publication should ensue. Schenker gives detailed comments, with music examples, on Cube's two piano sonatas, praising them highly and making suggestions for improvement. OJ 14/45, [81] Handwritten letter from Violin to Schenker, dated December 19, 1929 Violin has two possible publishers for the "Eroica" monograph. One of these he names as Rather in Leipzig, which has recently bought up Simrock. The other, Breitkopf & Härtel, has been suggested by Furtwängler, who believes that the proposal would be supported by Karl Straube. Violin also considers the possibility replying to a recent article by Schoenberg. OJ 6/7, [47] Handwritten letter from Schenker to Violin, dated March 2, 1930 Schenker reports on two concerts at which Hans Weisse's Octet was performed for the first time. Furtwängler was enchanted by it, Schenker was impressed by the quality of the voice-leading in general, the construction of the finale movement (a passacaglia) in particular. He was touched to see that a pupil of Weisse's, Dr. Felix Salzer, had subvented the cost of the rehearsals and concerts, and the provision of food and drink for the audience; this he compared with Antony van Hoboken's reluctance to help him with the publication costs of his recent work. OJ 15/16, [64] Handwritten letter from Weisse to Schenker, dated March 21, 1930 Weisse has seen Furtwängler, who will write a letter of recommendation to Breitkopf & Härtel with regard to Weisse's Octet. He suspects that Furtwängler will want to consult Schenker about it, and asks his teacher not to be overly modest about the work of one of his pupils, and to stress the need for an arrangement of the work for piano four hands. OJ 10/3, [123] Typewritten letter from Deutsch to Schenker, dated April 1, 1930 Deutsch suggests that Schenker should get Breitkopf & Härtel to publish his study of the "Eroica" symphony, on a commission basis. -- He thinks that Hoboken will continue to study theory with Schenker while he improves his piano technique in Berlin. -- He has found a published version of Beethoven’s song "Neue Liebe, neues Leben," which predates its publication in Op. 75 by about three years, and asks Schenker to compare the two version with a sketch from 1798 that was published by Nottebohm. OJ 10/3, [124] Typewritten letter from Deutsch to Schenker, dated April 4, 1930 Deutsch thanks Schenker for confirming the relationship of a Beethoven sketch to his song "Neue Liebe, neues Leben," which Gustav Nottebohm had misunderstood. OC 54/296 Handwritten letter from Furtwängler to Schenker, dated April 16, 1930 Furtwängler encloses a letter from Karl Straube, and cautions Schenker against publishing with Breitkopf. Sbb 55 Nachl. 13, [3] Handwritten letter from Schenker to Wilhelm Furtwängler, dated April 19, 1930 Schenker is willing to hand over an unidentified "book" [Meisterwerk III] to Breitkopf & Härtel on condition that publication not be delayed; he refers to dealings with other publishers and plans for future publications. OC 54/297 Handwritten letter from Furtwängler to Schenker, dated April 19, 1930 Furtwängler has forwarded Schenker's letter on to Straube for direct reply. OC 54/218 Handwritten letter from Karl Straube to Schenker, dated May 14–16, 1930 Straube informs Schenker that, owing to the acute slump in sales of musical textbooks, he has been unable to secure a publishing deal for the third Meisterwerk yearbook with both Breitkopf & Härtel and C. F. Peters. OC 54/298 Typewritten letter from Furtwängler to Schenker, dated May 30, 1930 Furtwängler is angry at Straube's reply, and may sound out Max Hesse — He has resigned his Vienna position. OC 54/304 Typewritten letter from Deutsch to Schenker, dated June 10, 1930 Deutsch returns a letter from Furtwängler; he finds Vrieslander’s essay about Schenker difficult to read. He advises him to proceed with the printing of his essay on the "Eroica" Symphony, even if it proves possible for another publisher to take it over at a late stage. He is still looking for someone to arrange Schubert’s piano-duet marches [for orchestra or wind band]. OC 54/299-300 Handwritten letter from Furtwängler to Schenker, June 26, 1930 Furtwängler reports on his meeting with Breitkopf & Härtel. OC 54/310 Typewritten letter from Deutsch to Schenker, dated July 4, 1930 Deutsch gives further details of the production costs for the third Meisterwerk yearbook and makes some recommendations, including the printing of the Urlinie-Tafeln of the "Eroica" as a booklet, not as loose pages. OJ 5/7a, [30] (formerly vC 30) Handwritten postcard from Schenker to Cube, dated July 10, 1930 Comparison of Otto Vrieslander with Hans Weisse. Weisse's Octet impressed Furtwängler. Meisterwerk III due out in October (reports contents); is now revising Der freie Satz. OJ 6/7, [49] Handwritten letter from Schenker to Moriz Violin, dated July 10, 1930 Acknowledging his recent letter to Jeanette, Schenker expresses his regret that Violin and his son Karl are still troubled by health problems and reports some recent news. Furtwängler's intervention with Breitkopf & Härtel on behalf of Weisse's Octet was in vain; he had also sought the same firm's agreement to publish the "Eroica" analysis, but this will now appear as the third Meisterwerk Yearbook. The Schenkers are expecting many visitors in Galtür, including Furtwängler, Reinhard Oppel, Schenker's nephew and his wife, and Jeanette's sister and family. Hoboken is prepared to fund the publication of a collected edition of the works of C. P. E. Bach (with financial support from the city of Hamburg), but Schenker is cautious about this because his paid involvement in the project might result in work that would jeopardize progress on Der freie Satz. He has been included in the latest edition of Meyers Konversations-Lexicon, and has received favorable citation in Romain Rolland's latest Beethoven book. PhA/Ar 36, [1] Carbon copy of a typewritten letter from Anthony van Hoboken to Heinrich Schenker, dated September 15, 1930 Hoboken sends his scoring of a C. P. E. Bach harpsichord concerto for Schenker to check in connection with a planned new collected edition of the works of that composer. OJ 6/8, [1] Handwritten letter from Schenker to Violin, dated January 9, 1931 In this long and wide-ranging two-part letter, which includes a graphic analysis of J. S. Bach’s Two-part Invention in E-flat major, Schenker praises the work of Hans Weisse, who has recently returned from lecturing in Berlin and may be offered a post there (on Furtwängler’s recommendation), emigrate to America (with the help of Gerald Warburg), or even found an institute that would give employment to Felix Salzer and other Schenkerian disciples under one roof. — A letter from Violin, which has just arrived in the morning post, speaks of Violin’s own intention to establish a Schenker Institute in Hamburg. For this, Schenker recommends Felix-Eberhard von Cube (in preference to Reinhard Oppel) and Otto Vrieslander as possible theory teachers, if not Weisse himself. — The letter concludes with a tirade against those who have caused him financial misery (including his brother Mozio), culminating in a cynical passage in which Schenker advises his friend to look after himself and engage some dull pedagog to teach conventional theory. In the end, he wishes Violin luck with the enterprise, and thanks him for having helped rescue him from Hertzka’s clutches. OJ 11/54, [40] Typewritten letter from Hoboken to Schenker, dated July 29, 1932 Hoboken comments on some contemporary music; — he comments adversely on the new edition by Edouard Ganche of Chopin's works; — he may visit the Schenkers and bring Eva Boy with him. Diaries Diary entry by Schenker for 17 February 1907 Diary entry by Schenker for 25 October 1913 Diary entry by Schenker for 11 March 1914 Diary entry by Schenker for 17 March 1914 Diary entry by Schenker for 27 March 1915 Diary entry by Schenker for 11 October 1915 Diary entry by Schenker for 19 October 1915 Diary entry by Schenker for 21 October 1915 Diary entry by Schenker for 22 October 1915 Diary entry by Schenker for 15 November 1915 Diary entry by Schenker for 3 December 1915 Diary entry by Schenker for 5 December 1915 Diary entry by Schenker for 7 December 1915 Diary entry by Schenker for 9 December 1915 Diary entry by Schenker for 22 December 1915 Diary entry by Schenker for 11 January 1916 Diary entry by Schenker for 25 January 1916 Diary entry by Schenker for 31 January 1916 Diary entry by Schenker for 6 February 1916 Diary entry by Schenker for 9 February 1916 Diary entry by Schenker for 10 February 1916 Diary entry by Schenker for 11 February 1916 Diary entry by Schenker for 20 June 1919 Diary entry by Schenker for 25 March 1920 Diary entry by Schenker for 14 April 1920 Diary entry by Schenker for 19 November 1922 Diary entry by Schenker for 16 December 1922 Diary entry by Schenker for 23 March 1923 Diary entry by Schenker for 14 June 1924 Diary entry by Schenker for 10 July 1925 Diary entry by Schenker for 26 July 1925 Diary entry by Schenker for 19 August 1925 Diary entry by Schenker for 26 August 1925 Diary entry by Schenker for 11 September 1925 Diary entry by Schenker for 18 September 1926 Diary entry by Schenker for 18 October 1927 Diary entry by Schenker for 5 January 1929 Diary entry by Schenker for 24 March 1930 Diary entry by Schenker for 25 March 1930 Diary entry by Schenker for 10 April 1930 Diary entry by Schenker for 15 April 1930 Diary entry by Schenker for 18 April 1930 Diary entry by Schenker for 20 May 1930 Diary entry by Schenker for 7 June 1930 Diary entry by Schenker for 16 June 1930 Diary entry by Schenker for 30 June 1930 Diary entry by Schenker for 2 July 1930 Diary entry by Schenker for 3 July 1930 Diary entry by Schenker for 8 July 1930 Diary entry by Schenker for 9 July 1930 Diary entry by Schenker for 7 November 1930 Diary entry by Schenker for 9 January 1931 Diary entry by Schenker for 3 May 1932 Diary entry by Schenker for 14 October 1932 Lessonbooks OC 3/2-3: Oct 1913-Jun 1914 Angi Elias: lesson: Monday October 6, 1913 OC 3/3: 1916/17 Angi Elias: lessons: October-November [1916]